Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Translation 3-9-2016 The role of translation in the Nobel Prize in literature : a case study of Howard Goldblatt's translations of Mo Yan's works Yau Wun YIM Follow this and additional works at: http://commons.ln.edu.hk/tran_etd Part of the Applied Linguistics Commons, and the Translation Studies Commons Recommended Citation Yim, Y. W. (2016). The role of translation in the Nobel Prize in literature: A case study of Howard Goldblatt's translations of Mo Yan's works (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://commons.ln.edu.hk/tran_etd/16/ This Thesis is brought to you for free and open access by the Department of Translation at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University.
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THE ROLE OF TRANSLATION IN THE NOBEL PRIZE IN LITERATURE: A CASE STUDY OF HOWARD GOLDBLATT S TRANSLATIONS OF MO YAN S WORKS YIM YAU WUN MPHIL LINGNAN UNIVERSITY 2016
THE ROLE OF TRANSLATION IN THE NOBEL PRIZE IN LITERATURE: A CASE STUDY OF HOWARD GOLDBLATT S TRANSLATIONS OF MO YAN S WORKS by YIM Yau Wun 嚴柔媛 A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy in Translation LINGNAN UNIVERSITY 2016
ABSTRACT The Role of Translation in the Nobel Prize in Literature: A Case Study of Howard Goldblatt s Translations of Mo Yan s Works by YIM Yau Wun Master of Philosophy The purpose of this thesis is to explore the role of the translator and translation in the Nobel Prize in Literature through an illustration of the case of Howard Goldblatt s translations of Mo Yan s works. As the most significant international literary prize, the Nobel Prize in Literature is well discussed in media. However, insufficiently detailed attention has been given to the role of translation in the Prize. In many cases, the works that the Nobel judges evaluate are in fact translations, not the prize winner s own words. Despite the importance of translation in the selection process, no research has ever examined the role played by translation or the translator in an author s win of the Nobel Prize. The thesis will trace the history of the Nobel Prize in Literature with regard to translation, showing the growing importance of this linguistic act since the start of the prize. This thesis aims to show that a good translator was one of the most important factors behind Mo Yan s win of the Nobel Prize in 2012. Without his excellent translators, including American translator Howard Goldblatt, Mo Yan may never have been able to present his works to the Western world, not to mention win the Nobel Prize and enjoy worldwide appreciation. A thorough analysis of this case will reveal the translator s influence as well as how translation may affect the decision of who receives the Nobel Prize. Furthermore, examining the relationship between translation and the Nobel Prize in Literature can shed light on the role of translation in cultural exchange and world literature. With imbalanced cultural exchange between the West and the East, the role of Goldblatt is worth researching, as he successfully introduced Chinese literature to the world and served as a mediator linking up the two cultures.
The research will be conducted using a descriptive approach by information gathering, statistical analysis and text comparison. By comparing the source text and translation of Mo Yan s works from ideological and literary perspectives, the thesis will explain how Goldblatt s translations might have affected the Nobel Prize panel s impression of Mo Yan s works, based on the criteria for the choice. Paratextual influences will also be analysed, such as the literary reputation of the translator. With the illustration of the case of Mo Yan, this research hopes to open up a new perspective on the studies of the Nobel Prize as well as translation.
DECLARATION I declare that this is an original work based primarily on my own research, and I warrant that all citations of previous research, published or unpublished, have been duly acknowledged. (YIM Yau Wun) Date: U< -H -xo(6
CERTIFICATE OF APPROVAL OF THESIS THE ROLE OF TRANSLATION IN THE NOBEL PRIZE IN LITERATURE: A CASE STUDY OF HOWARD GOLDBLATT S TRANSLATIONS OF MO YAN S WORKS by YIM Yau Wun Master o f Philosophy Panel of Examiners: (Prof. Ding Ersu) (Chairman) (Prof. Li Dechao) (External Member) (Prof? Sun Yifeng) (Internal Member) (ProE Wong Wai Yi Dorothy)/, (Internal Member) Chief Supervisor: Prof. Sun Yifeng Co-supervisor: Prof. Roberta Raine Approved for the Senate: Chairman, Postgraduate Studies Committee Date
CONTENTS LISTS OF TABLES AND ILLUSTRATIONS... iii ACKNOWLEDGEMENTS... iv CHAPTER 1: INTRODUCTION... 1 1.1 Research Background... 1 1.1.1 The Role of Goldblatt behind Mo s Nobel Prize in Literature... 1 1.1.2 Translation in the Nobel Prize in Literature... 3 1.1.3 Translation, World Literature and Cultural Exchange... 4 1.2 Research Questions... 6 1.3 The Significance of the Study... 8 1.3.1 Limitations in the Existing Research... 8 1.3.2 Promoting Cultural Diversity in the Global Book Market... 10 1.4 Methodology... 11 CHAPTER 2: THE ROLE OF TRANSLATION IN THE NOBEL PRIZE IN LITERATURE... 16 2.1 Basic Information about the Nobel Prize in Literature... 16 2.1.1 The Global Status and Controversies of the Nobel Prize in Literature... 17 2.1.2 Criteria for the Choices... 18 2.2 The Importance of Translation on the Nobel Prize in Literature... 22 2.2.1 Change of the Geographic Distribution of the Laureates and the Relationship with Translation... 23 2.2.2 The Judges as the Translator... 31 2.2.3 The Importance of an English Translation and the Reliability of Translation... 34 CHAPTER 3: CASE STUDY: ANALYSIS OF HOWARD GOLDBLATT S TRANSLATION OF MO YAN S WORKS... 40 3.1 A Brief Introduction to Mo Yan and Howard Goldblatt... 40 3.2 An Introduction to Mo s Works and the English Translations... 42 3.3 The Translation View and Style of Howard Goldblatt... 48 3.4 Textual Comparison: The Influence of Howard Goldblatt... 50 3.4.1 Ideological Content... 50 3.4.2 Literary Quality... 61 3.5 Paratextual and Extratextual Influence... 73 3.5.1 The Reputation of the Translator... 74 3.5.2 Promotion in Publications... 75 3.5.3 Award Nominator... 77 CHAPTER 4: OTHER FACTORS FOR MO S SUCCESS... 80 4.1 The Influence of Movie Adaptation... 80 i
4.2 Translators and Translations in Other Languages... 83 4.3 The Role of the Author... 86 4.4 Globalization, Modernization and Politics... 91 CHAPTER 5: CONCLUSION... 95 5.1 Reflection on the Role of Translation in the Prize... 95 5.2 The Implications of Mo Yan s Case towards Translation... 97 5.3 Limitations and Suggested Avenues of Future Research... 98 BIBLIOGRAPHY... 101 ii
LISTS OF TABLES AND ILLUSTRATIONS Tables Table 1: The Classification of the Languages the Laureates Used Table 2: Language of Works of the 111 Nobel Laureates in Literature (1901 to 2014) (Table 2a) Group 1a: English, French, German and Nordic languages (Table 2b) Group 1b: Finnish & Spanish & Italian (Table 2c) Group 2a: Minority languages in Europe (Table 2d) Group 2b: Other distant languages (Table 2e) Total of Group 1 and Group 2 Table 3: The Published Titles of the English Translations of Mo Yan s literary works Table 4: The Numbers of Articles in China Related to Mo Yan s Works Table 5: The Movies Adapted from Mo Yan s Novels Figures Figure 1: The proportion of languages groups in different periods (Figure 1a) 1901-1944 (Figure 1b) 1945-1980 (Figure 1c) 1981-2014 (Figure 1d) 1901-2014 iii
ACKNOWLEDGEMENTS I would like to express my gratitude to my chief supervisor Professor Sun Yifeng for his insight advice, which has supported me all along. He has generously offered me timely suggestions, cleared up my doubts and eased my worries. I wish to convey my or every step and gone through each version of my thesis. When I was desperate, her encouraging words gave me confidence to continue this challenging task. She is truly my life-saver who has rescued me many times from my predicaments. Without her guidance and emotional support, I would not have been able to finish my research. I am grateful to the other teachers and fellow students in our department for their encouragement and constructive suggestions on my thesis, especially to Professor Charles Kwong, Dr. Tong Man, Dr. Hui Ting-yan, Dr. Dorothy Wong, and Dr. Cheung Yu-kit. In addition, I would like to acknowledge Dr. Li Wenjing of the Hong Kong Polytechnic University for sending me the recording of a Howard Goldblatt seminar. My thanks also extend to my colleagues in Jockey Club New Hall (H), who have shared a lot of pleasant memories with me. Our Warden Professor Mark Hampton and senior tutor Ms Grace Ho have showed great consideration and kind concern for me and my studies. Finally, I would like to thank my dear family and friends for their unfailing support and continuous encouragement. The completion of this task would not have been possible without them. iv
CHAPTER 1: INTRODUCTION 1.1 Research Background 1.1.1 The Role of Goldblatt behind Mo s Nobel Prize in Literature Mo Yan s win of the Nobel Prize in Literature was the biggest event in the Chinese literary world in 2012. Different from the first Chinese laureate, exiled dissident Gao Xingjian, 1 Mo is a pro-establishment Chinese resident and writer whose works have strong local colour of Chinese rural communities. Sparking celebration and bringing pride and joy across mainland China, Mo Yan s success helped China overcome its Nobel Complex (Lovell, 2006), as it has been a long-coveted dream of many mainland Chinese who regard the prize as one of the most globally influential literary prizes that can boost the status of Chinese literature and gain recognition of the PRC s rising power. Apart from Mo s talent, the translator undoubtedly is a key factor for his success. Except for the sinologist Göran Malmqvist, none in the 18-member committee in the Swedish Academy, which decides the laureate of the Nobel Prize in Literature, can read Chinese. Other members, thus, could only resort to different translated versions to enjoy Mo Yan s works. Without his translators labour, Mo would not even have a chance of winning. Being the first Chinese national to win the Nobel literature prize certainly thrust Mo Yan into the limelight, but his translators, meanwhile, have received far less attention despite their almost-equal importance and contribution. Among these back-stage heroes, Anna Gustafsson Chen, Mo Yan s Swedish translator, did get into the press, but the others received only very little news coverage, including Mo s 1 As a Chinese novelist, playwright and critic, Gao Xingjian (1940- ) was awarded the Nobel Prize for Literature for an oeuvre of universal validity, bitter insights and linguistic ingenuity in 2000. Since Gao was an exile writer who was granted French citizenship in 1998, his Nobel Prize was not much celebrated in mainland China. 1
English translator Howard Goldblatt, whose efforts were emphasized by Chen in an interview. In fact, Goldblatt s contribution is by no means less than Chen s. The Swedish translation, undeniably, gave Mo a push to the Nobel Prize, the laureate of which is chosen by a group of native Swedish speakers. However, as Chen said, Please note that it was not only the Swedish-language version of the works of a Nobel Literature Prize candidate the panel looked at when making the decision. Other translated versions in German, English and French were also taken into consideration. 2 The translated versions of Goldblatt, who was the most prolific translator for Mo Yan s works up to 2012, 3 are referential for the selection to a certain extent. Understandably, the Prize, to a certain extent, depends on translation. A good translation will do more good while a bad one will do harm. Goldblatt s translation is believed to be the former. German Sinologist Wolfgang Kubin even said, Howard Goldblatt knows exactly what the writers' weaknesses are, and manages to translate into a language that is better than the original Chinese (qtd. in Von Hein, 2012). It might be a bit arbitrary to say Goldblatt s version is better than Mo Yan s original work, but it certainly received better reception in the Western literary market than many English translations of Chinese literary works. How could Goldblatt produce those excellent translations? What has he done? Moreover, Goldblatt is the one who introduced Mo s works into the English-language book market, which is the largest market in the world. Goldblatt had already discovered Mo s talents as early as 1986 and started translating Mo s 2 Meet Anna Chen, Mo Yan s Swedish translator, Shenzhen Daily, December 18, 2012, accessed December 22, 2012, http://www.szdaily.com/content/2012-12/18/content_7510927.htm. 3 Up to 2012, Goldblatt finished 9 publications of Mo s major works translations, followed by French translator Chen-Andro who has 7 works published while Swedish translator Chen only has three. Bio-bibliographical notes of the Nobel Prize in Literature 2012 Mo Yan, the Official Web Site of the Nobel Prize, accessed December 22, 2012, http://www.nobelprize.org/nobel_prizes/literature/laureates/2012/bio-bibl.html 2
works afterward. Red Sorghum A Novel of China, his first translation of one of Mo Yan s novels, was published in 1993. Bringing Mo s works outside China, the English translations did help Mo s works to get better known internationally. Even Chen was acquainted with Mo s novel via Goldblatt s work at first. I read Ge Howen s (Howard Goldblatt) English translation in a bookstore. Then, in Sweden it wasn't easy to find Chinese books. I found ["Red Sorghum"] interesting and later bought the Chinese version and tried to translate it. 4 As a matter of fact, Mo Yan, who is one of the most translated living Chinese writers, 5 was already regarded as one of the most popular PRC writers in the West, even before the win of the Nobel Prize. With his significant influence, Goldblatt obviously helped to start Mo on the road toward the Swedish Academy. 1.1.2 Translation in the Nobel Prize in Literature As the world s prestigious literary prize, the Nobel Prize in Literature enjoys a global repute which overshadows other literary awards. The Prize is regarded as a representation of the pinnacle of general recognition in the field. With a Nobel Prize, not only can the laureate win a considerable amount of money and a gold medal, but also immense prestige and other derived benefits brought by this honour. However, despite its international repute, the Nobel Prize faces criticism and dispute on their laureate selection, which involves many rejections and controversies. As a world literary prize, the Nobel Prize in Literature has to compare different literary works that are originally written in different languages from different cultures from the whole world, and then decide which is the most outstanding. In the 4 An Wei, Meet Anna Chen, Mo Yan's Swedish translator, China.org.cn, December 14, 2012, accessed November 27, 2014, http://china.org.cn/arts/2012-12/14/content_27415721.htm 5 According to Index Translationum, the most translated Chinese living author is Gao Xingjian (88 translations) and Mo Yan comes second (86 translations). Authors translated for Chinese, Index Translationum, United Nations Educational, Scientific and Cultural Organization, accessed November 28, 2014, http://www.unesco.org/xtrans/bsstatexp.aspx 3
process of the selection, a wide range of aspects like the content, theme, aesthetic values and the quality of writing of each work is considered and compared based on the writers original works. However, the literature written in uncommon languages that most judges cannot read can only rely on their translation. Once translation is involved, the game could never be fair because full equivalence does not exist in translation as the meaning of a word belongs to its own culture and language. There would always be loss and gain in the translated version, which, instead of the original text, is the actual text that the judges read. A good translation can increase the chance of winning by uplifting the quality of writing and tackling the cultural barrier, but a bad translation degrades originally good works and become a drag. The problem is, to what extent could the deviation affect the selection of the winner of the Nobel Prize? This thesis will try to analyze this problem by studying the case of Mo Yan and Howard Goldblatt. 1.1.3 Translation, World Literature and Cultural Exchange "What is world literature? World literature is translation," said a former secretary of the Swedish Academy. 6 Translation, which bridges the gap between two different cultures, enables both sides to introduce their uniqueness in order to enhance mutual understanding. In translation activities, the translator obviously plays an indispensible role. Yet, not many people know what exactly the role of the translator is. As a comparison, the translator is like an actor on the stage, playing an assigned role. The role may be different on different stages; the translator s role changes under different contexts as well. In the past, the translator was regarded as a slave to the 6 Quoted by Göran Malmqvist. Meet Göran Malmqvist, Nobel Prize member and champion of Chinese literature, South China Morning Post, April 18, 2014, accessed August 23, 2014, http://www.scmp.com/lifestyle/arts-culture/article/1486045/meet-goran-malmqvist-nobel-prize-mem ber-and-champion-chinese 4
source text (Pasquier 1576:112, Dryden, 1697:175), who is secondary, not creative and required to be absolutely faithful to the original text. Mistranslation was a deadly sin which could never be condoned. Translations of religious doctrines such as the Bible in the West and Buddhist sutras in ancient China are a typical example showing the superior status of the source text because it was believed that translation should be faithful because of its sacredness. Shi Dao an (315-385), a well-known monk and translator of Buddhist scriptures, adopted a strict literal translation approach. He wrote in the preface of the translation of a Buddhist sutra that the translation should follow the source text closely without missing a word; the translator should not make any change except for the word order ( 案本而傳, 不令有損言游字 ; 時改倒句, 餘盡實錄 ) ( 釋僧祐, 1995:382). The role of the translator back then was like a servant who should be as faithful as he could to the source text. Nowadays, the role of the translator has undergone a significant change. Under a globalized context, the translator has a higher status and a more crucial role because cross-cultural communication is impossible without the translator. Cultural difference is inevitable and the major role of the translator is to break through all cultural barriers, in or outside the text, and serve as a culture disseminator, mediator and facilitator (Bassnett, 2011). The role of the translator is more complicated nowadays. The translator is more than someone who just buries himself in the source text and simply does the code-switching practice. They need to walk from their room and exert their influence. Take translating bestsellers as an example. There are often conflicts between the publisher of the translated version and the original author. The role of the translator is as a mediator to achieve a compromise between the publisher, who is the patron of the translation activity and mainly concerned with profits and sales, and the author, who cares more about the authenticity of the translation. Therefore, translation is 5
definitely not a one-man show, but a dynamic process that involves both publisher and author who exert pressure together on the translator. The translator needs to satisfy their requirements, but at the same time, the translator has his own point of view. Therefore, the role of the translator in this kind of conflict is worth examining. As a mediator in the world of literature, the translator can make a difference on the international circulation of literary works in the world. The world literary market clearly reveals the position of Western and non-western literature: The number of books translated into Western languages is far smaller than the books translated into non-western languages. Some post-colonialists like Frantz Fanon (1963) and Edward Said (1978) pointed out that the centre of world literature is occupied by Western literature, while African and Asian literatures are on the periphery. However, there are centre and periphery in Western literature as well, such as Irish literature, which is on the periphery (Tymoczko, 1999). For writers from peripheral literature to gain international fame, they are heavily reliant on creating a masterpiece that will sell in international markets. The assistance of a good translator would be essential in this sense. Howard Goldblatt is one of these good translators who helped to increase Mo Yan s visibility and build up his reputation in the global literary stage, which eventually led him to the Nobel glory. The case study, thus, will try to look at how the translator can help the peripheral literature more toward the centre. 1.2 Research Questions There are many much better writers here in China who aren't so prominent because they've not been translated into English, or rather they don't have the outstanding American translator Howard Goldblatt (qtd. in Von Hein, 2012). Sinologist Wolfgang Kubin said the above line in an interview after Mo Yan won the Nobel Prize. What he believed is that there are many good quality writers like Mo 6
Yan in China, but there is only one Howard Goldblatt. If you want a good reception overseas, the quality of the translator will be extremely crucial. Although Kubin is a classical Chinese literature expert who has continually made harsh comments on contemporary Chinese literature, his point of view is worth discussing. If it is true, the role of the translator would be one of the most determinant factors behind the win of the Nobel Prize. In order to investigate the role of the translation and translator, we have to know what Goldblatt was doing when he translated Mo Yan s works first. How translation can affect the choice of the winner? What is Goldblatt s contribution to Mo Yan s Prize? What has he done to bring Mo Yan s works to the Western literary market? What is the limitation? What are the other important factors that contribute to the win of Mo Yan except translation? These are the questions to be answered in this thesis. This thesis will conduct a tentative study on the role that the translator plays in the Nobel Prize as well as the world literature stage. In this research, the translator is a rather vague concept because the translator Howard Goldblatt is actually not the only producer of his translation. In today s book publishing industry, translation undergoes editing before being published. Therefore, the translator hereinafter should refer to all decision makers who participate in producing the translation, which include, of course, the translator himself, Howard Goldblatt, the editors or the publisher, and anyone else who play a role in producing the translation, such as Goldblatt s wife Sylvia Lin. The thesis will be descriptive, comparative and target text oriented. Descriptive research will be carried out on the case of Howard Goldblatt and Mo Yan. Para-textual factors, such as patronage and ideology, will be taken into consideration. Text comparison will also be adopted to support the thesis. By comparing the source text and the target text, we can explore the role and strategy of Goldblatt when 7
translating Mo Yan s works. 1.3 The Significance of the Study 1.3.1 Limitations in the Existing Research Despite the influence and repute of the Nobel Prize, there is very limited existing research on the translation aspect of this prestigious prize. As one of the determinant factors in the selection, translation seems to be overlooked in the study of the Nobel Prize in Literature. Some research on the Nobel Prize has mentioned a point or two about translation in the Nobel Prize, but there is almost no detailed and deep research or monograph specializing in this subject currently. With only sketchy and patchy information on this topic available, this research aims to carry out a new model about the Nobel Prize in Literature, as there is no old model or theory to follow as a reference. Other researchers who are interested in this topic may examine other Nobel Prize winners with this new model. In order to see the full picture, many studies need to be done. Since Mo won the Nobel Prize in 2012, his literary works have become a popular research topic. According to the data from Chinese National Knowledge Resource Integrated Database (CNKI), the number of master s theses related to Goldblatt s English translations of Mo Yan s works rose rapidly from 12 to 53 after Mo won the Nobel Prize. 7 However, the current research on Howard Goldblatt and Mo Yan is mainly limited to text comparison of a single book with a particular theory, such as the following two master s theses: Chui Ying Mei discussed the English translation of The Republic of Wine from the perspective of receptive aesthetics in her thesis (Chui, 2014), and Li Xiayan analyzed Life and Death are Wearing Me Out from a 7 From 1984 to November 2014, there are totally 53 Master s theses studying on Goldblatt s translations of Mo s works. China Knowledge Resource Integrated Database, accessed November 28, 2014, http://www.cnki.net/ 8
linguistic perspective (Li, 2012). However, based on my own research on different databases, 8 no in-depth research on Howard Goldblatt s translations of Mo Yan s works in regard to winning the Nobel Prize has been found. Among the articles about Mo Yan s Nobel Prize in Literature, most of them only suggested that translation is an important factor behind his Nobel Prize, but detailed explanations and examples are missing. This thesis, therefore, will investigate how translation could affect the decision of the Nobel Committee in terms of the textual and para-textual aspects with sufficient examples to support it. There is a need to have a comprehensive analysis on the role of Howard Goldblatt towards Mo Yan s success. Traditionally, translation had been regarded as a linguistic task limited to simple transformation between languages and text comparison. Translation Studies was initially mainly focused on the linguistic aspect. The source text was highly respected and translators only had an invisible status, copying almost all messages from the source text. However, translation is not only code-switching but a complicated process involving different parties. The translator is not the only party in translation activities. Normally, the translator is not allowed to have his/her own way. The author, the reader and the publisher, who are also participants in the activities, should also be taken into account in order to have a whole picture of the translation process which is dynamic rather than static. Studying the role of the translator can give us a clear view on the habitat and the freedom of the translator in translation activities. The interaction between the translator, the publisher and the author, as well as other external parameters such as society and economy should never be ignored as they all exert influence on translation activities and thus, determine the role of the translator. Therefore, a thorough and in-depth analysis of the role of the translator is also needed. 8 These databases include ProQuest, EBSCOhost, Dissertation Abstracts, JSTOR, CNKI and Duxiu. 9
1.3.2 Promoting Cultural Diversity in the Global Book Market This study intends to investigate the role for the translator to introduce peripheral or semi-peripheral literature to the centre of world literature. Not only did Mo Yan s victory shorten the distance between world literature and Chinese literature, but it also offered a good model for translators to learn from in order to promote non-western literature abroad. This thesis will examine the strategies and characteristics of Goldblatt s translation. It is hoped that it can facilitate mutual communication between different cultures and promote cultural diversity. Globalization has enabled developing countries to have growing influence in the world, mostly in the economic aspect instead of the cultural one. Translation is the only medium for the transnational circulation of books. The data from Index Translationum 9 clearly reveals the core-peripheral structure of the global book market as well as the hegemony of English. Over half of the translated books were originally written in English. On the contrary, Chinese, as an example, only accounted for less than 1% of the global market despite having the largest population in the world. There are many factors behind this phenomenon, like the asymmetrical power relations between the West and the rest of the world. However, this situation did not improve a lot despite the rapid rise of China as a major economic power in recent decades. Are there other factors hindering the dissemination of Chinese literature? Some Chinese scholars, such as Liu Zaifu (Liu, 1999:24), believed that the lack of good translations of Chinese works is another reason. In fact, the relationship between Chinese and Western literature has always been lopsided. Indeed, the Chinese have put effort in exporting contemporary literature, but most of them failed, such as the state-institute manipulated translation project Panda Book Series which 9 TOP 50 Original language, Index Translationum, United Nations Educational, Scientific and Cultural Organization, accessed September 12, 2014, http://www.unesco.org/xtrans/bsstatexp.aspx?crit1l=3&ntyp=min&topn=50 10
was initiated by the Chinese Literature Press in 1981 (Geng, 2010). However, Howard Goldblatt, a foreign translator, successfully pushed a Chinese writer to the top of the literature world. As Malmqvist said, "Many Chinese poets are qualified enough to be given the Nobel Prize in Literature... but it all depends on the translation." 10 There might be many factors behind the success but obviously, a good translator does matter. Therefore, Mo Yan s case is a good model for peripheral literature entering the Western literary world. The Nobel Prize was seen as a validation of Chinese literature, proving the reception of peripheral literature in the West despite the cultural difference and language barrier. Since Howard Goldblatt is doing a good job at this, his role should be examined to see how the translator facilitates the dissemination of peripheral literature in the global market. 1.4 Methodology According to my research, nobody has ever conducted any in-depth research 11 specializing in the role of translation in the Nobel Prize in Literature although the prize is very well-known in the world. Since there is no precedent for reference, I do not have a well-established methodology to follow. For this reason, a new methodology has to be created and hopefully this will be a contribution to the field of translation studies. This thesis is an explorative and descriptive study of the role of translation and the translator in the Nobel Prize in Literature with a case illustration of Howard Goldblatt s translation of Mo Yan s works. Reading, statistical analysis and textual 10 Swedish Academy member justifies Nobel Prize decision, China Daily USA, October 22, 2012, accessed on November 30, 2014, http://usa.chinadaily.com.cn/world/2012-10/22/content_15836968.htm 11 In-depth research herein contains monographs, journal articles, PhD or MPhil Dissertations that specialize in the role of translation in the Nobel Prize in Literature. 11
analysis have been done in order to answer the research questions. These methods will be explained one by one in the following paragraphs. Background reading and research Extensive reading was carried out for in-depth analysis in different parts of the thesis. The areas of reading included the studies on the Nobel Prize, translation studies, Mo Yan s novels, Goldblatt s translations, the articles written by Mo or Goldblatt as well as the interviews and studies related to them. In the Nobel Prize context, related books, articles and online information have been read for gathering background information about the Prize and its internationalization. Official sources were prioritized, including the official webpages of the Prize and Swedish Academy, and the monographs and articles written by Swedish Academy members. Kjell Espmark s The Nobel Prize in Literature: A Study of the Criteria behind the Choices (1991) gives some inside details, the development of the Prize, the difficulties the Academy met and how they dealt with them. To avoid bias, unofficial sources were also included in reading, like British sinologist Julia Lovell s The Politics of Cultural Capital: China's Quest for a Nobel Prize in Literature (2006), which examines the Nobel quest of China in different periods of time. For translation studies, some contemporary translation concepts were briefly reviewed, including the cultural turn and manipulation school of thoughts. In the case study, Mo Yan s novels and Goldblatt s translations were the primary sources for textual comparison. In order to choose suitable books for the comparison, the source texts and the translations have been scanned. Furthermore, for the analysis of the para-textual influences of the translator and translation, materials related to Mo and Goldblatt were widely collected, such as interviews, speeches, reviews and articles from monographs, edited volumes, journals, magazines, newspapers, online resources and so on, either in English or in Chinese. I have also attended several conferences and seminars 12
featuring Goldblatt s translations of Mo Yan works. Statistical analysis After reading, analysis was carried out to further examine the role of translation in the Nobel Prize. Statistical analysis has been conducted for the investigation on the importance of translation in the Nobel Prize in Literature. The languages used by laureates were divided into four groups according to the reliance on translation to the Swedish Academy: common European languages, Scandinavian languages, minority languages in Europe, and non-european languages (See Table 1). The frequencies of winning of each group over different periods of time were compared in order to conclude the change of the importance of translation to the Prize (See Table 2). Moreover, the statistics of existing studies of Mo Yan s novels are also analysed when choosing the novels for textual comparison. By searching databases like the China Knowledge Resource Integrated Database (CNKI), the data of the research circumstance of Mo s novels can be collected. The statistics can show how much attention each novel got in Chinese academia based on the number of related articles. Textual analysis and text selection Textual comparison and analysis were the major part in the case study of Goldblatt and Mo Yan. Comparing the source text and the translation can show the work that Goldblatt has done during translation. Since the existing studies of Goldblatt s translations of Mo s works have mainly been confined to a particular novel under a single theory, a comprehensive and organized study would show a large picture of the whole situation and reveal how things changed in the whole period of time. The Nobel Prize is given for an author s whole body of works and therefore, it does not seem convincing to only use one particular book for reference to illustrate the whole story. 13
However, attempting an exhaustive analysis covering all of them is not easy such a task would be more suitable for a PhD dissertation. This thesis, therefore, focuses on a selection of some representative works to support the textual analysis. Out of the seven of Mo Yan s works that Goldblatt translated, four books are focused on in the textual comparison, namely Red Sorghum (1993), The Garlic Ballads (1995), Big Breast Wide Hips (2004) and Life and Death are Wearing Me Out (2008). The former two books are the earliest books that Goldblatt translated while the latter two are more recent, so the change of Goldblatt s translation style can be covered. These books were selected for their better sales and popularity compared to other books. Red Sorghum is the best known of Mo s novels in the West while Life and Death are Wearing Me Out won the Newman Prize in 2009. Moreover, the comments of the Nobel Committee on these books were also a consideration. The Garlic Ballads was picked by the Nobel permanent secretary Peter Englund as Mo s gateway book 12 while Big Breast Wide Hips was referred to as Mo s most remarkable novel 13 by Chairman of the Nobel Committee Per Wästberg in the 2012 award ceremony speech. Although there are Swedish translations of some of these books, it does not necessarily mean all judges would read the Swedish translations. As Mo s Swedish translator Anna Chen admitted, the Swedish translation is not the most important since the judges also read other translations. The textual comparison is carried out from the perspectives of ideology and literary merit, which correspond to the main two criteria of the Nobel Prize ideal direction and literary excellence. It is hoped that such an analysis will lead to a solid 12 Interview about the 2012 Nobel Prize in Literature (4 minutes), Nobelprize.org, accessed September 22, 2014, http://www.nobelprize.org/mediaplayer/index.php?id=1834. 13 "The Nobel Prize in Literature 2012 - Presentation Speech," Nobelprize.org, accessed August 18, 2015, http://www.nobelprize.org/nobel_prizes/literature/laureates/2012/presentation-speech.html. 14
and objective discussion on the importance of translation in the Nobel Prize in Literature. The main body of the research consists of two parts. The first part is an account on the relationship between the Nobel Prize and translation. In Chapter 2, the importance of the translation toward the development of the Prize is analysed in macro and micro aspects. The second part is a case study of the role of translation in Mo Yan s Nobel Prize. The influence of the English translator Howard Goldblatt will be focused on in Chapter 3, while other factors behind Mo s Nobel success, mostly related to translation, are examined in Chapter 4. Finally, the conclusion will be drawn in the last chapter. The findings, implications and reflection are summarized while suggested avenues of future research are included in this part. 15
CHAPTER 2: THE ROLE OF TRANSLATION IN THE NOBEL PRIZE IN LITERATURE 2.1 Basic Information about the Nobel Prize in Literature Established because of wishes left in the will of Alfred Nobel, the Nobel Prize in Literature is awarded annually by the Swedish Academy to an author from any country for outstanding contributions in the field of literature, or in Nobel s words the person who shall have produced in the field of literature the most outstanding work in an ideal direction. 14 The emphasis on idealism in Nobel s will resulted in controversies on the Swedish Academy s interpretation of the will and their selection of the winner. It is a common misconception to assume that the Nobel Prize in Literature is only limited to pure artistic literature like poetry, prose and drama. However, philosophical, historical and journalistic writings are also ranked as literature and therefore, the Nobel Prize in Literature includes these types of works. Winston Churchill, who won the prize in 1953, is the most famous laureate of non-artistic literature. The nomination and selection procedure of literature laureates take a whole year. Four kinds of people are eligible to nominate writers for the prize: (1) members of the Swedish Academy and of other similar academies, institutions and societies; (2) professors of linguistics or literature, (3) previous Nobel laureates in literature, and (4) presidents of those societies of authors that are representative of the literary production in their respective countries. After receiving all proposals, the Nobel Committee for Literature, comprising four to five members, evaluate the nominations and present its recommendations to the 18-member Swedish Academy, which is 14 Alfred Nobel, Full text of Alfred Nobel's Will, Nobelprize.org, November 27, 1895, accessed December 8, 2014, http://www.nobelprize.org/alfred_nobel/will/will-full.html. 16
responsible for selecting the year s laureate. This procedure of nomination and selection can avoid commercial pressure and ensure that the prize winners are chosen by experts. 2.1.1 The Global Status and Controversies of the Nobel Prize in Literature With its global repute and prestige, the Nobel Prize is the most potent and coveted award of modern time. The authority of the prize comes from its anointed rituals and the lucrative amount of money award. Glorified by the presence of the Swedish king and queen, the Nobel Prize ceremony is a modest and sedate affair, while the banquet is held in the Stockholm city hall and the laureates are well served with venison provided by the king s own hunter (Feldman 2001: 2). As the richest literary prize in the world, the prize offers 8 million Swedish krona (approximately US$1.1 million) as award money. However, the incomparable honour and lifelong celebrity are certainly worth more than that. The Nobel Prize is regarded as a token of global recognition and therefore, even a whole country, such as China, could be obsessed with this prize. Julia Lovell has made an in-depth analysis on China s quest for a Nobel Prize in Literature in her book. She suggested the unique position of the Prize as being the only literary prize of global humanistic scope (Lovell 2006: 43). Indeed, the Nobel Prize in Literature is the most prominent literary award in the world open to works in any language, any nation, and any genre. Other similar prizes include Neustadt International Prize for Literature (which is referred as the American Nobel ) and Franz Kafka Prize, but obviously the Nobel Prize is the most celebrated award among them. Therefore, winning a Nobel Prize is by no means an easy job. From 1901 to 2014, among numberless good writers, only 111 awards have been bestowed. The honour and prestige from winning the Nobel Prize are incomparably supreme. The influence and the celebrity brought by the prize are not limited to a single country or language users. Giving the writer a literary prize is the 17
best way to canonize a piece of literary work and the Nobel Prize is the most prominent one. Apparently, it is hard to find another literary prize which could overshadow the aura of the Nobel Prize in Literature. Despite its prestige, there are many controversies and criticisms in regard to the selection of the laureates of the Nobel Prize in Literature. The most often criticized point is aesthetic. Many great writers are missing from the list of laureates, while some winners seem to be mediocrities (Engdahl 2013: 317). Leo Tolstoy, Chekhov, and Mark Twain are examples of famous and important literary figures rejected from the prize because the Academy interpreted the will strictly at the early stage. Another realm of controversy is more political. A tendency towards Eurocentrism is revealed from the list of laureates. Undeniably, the majority of the laureates have been Europeans, especially at the early stage. More than 80 out of the 111 laureates are Europeans. In response to these criticisms, the Swedish Academy gradually adjusted its standard on the selection. 2.1.2 Criteria for the Choices Before investigating how translation affects the selection of laureates, it is essential to understand the criteria for an author to win the prize. However, the criteria for the choices of the laureate are not very clear and have been changing through different periods of time due to repeated revisions of the interpretation of Nobel s original words ideal direction. In this thesis, the criteria are concluded on the basis of the Prize Citation, Press Release and Presentation Speech given by the Academy every year after the announcement of laureates, as well as previous studies on related topics, such as books and journal articles. Among them, some studies are considered to be more official. As ex-chairman of the Nobel Committee of the Swedish Academy, Kjell Espmark concluded the changing criteria behind the selections of different eras in his book called The Nobel Prize in Literature: A Study 18
of the Criteria behind the Choices (1991). Sture Allén, the permanent secretary of the Swedish Academy between 1986 and 1999, wrote an article called Topping Shakespeare? Aspects of the Nobel Prize for Literature (1997), where he listed five criteria that Nobel provided. Besides these relatively official sources, some research has been done on this topic, such as David Carter s book, How to Win the Nobel Prize in Literature: A Handbook for the Would-Be Laureate (2012). It can be concluded from the above sources that there are a couple of factors influencing the choice of winners of the Nobel Prize in Literature: Nobel s will in 1895, the interpretation of the Swedish Academy, and the influence from criticism as well as the change in society and literature. Allén suggested that Nobel provided five criteria for the selection in his will (1997). The first three criteria are generally for all the five prizes while the last two are particularly for the prize in literature. First of all, the basic criterion for all five Nobel Prizes is that the recipients shall have conferred the greatest benefit on mankind (Nobel 1895). Second, the prize should be awarded for the contribution made "during the preceding year" (ibid.). However, this criterion was later altered. Now, the Academy will look into the whole body of work of the writers, instead of one or two books. Third, "no consideration whatever shall be given to the nationality of the candidates" (ibid.). This criterion uplifted the Nobel Prize to a global level although the Academy has been criticized for being Eurocentric in picking the winners, especially before the 1980s. 15 Fourth, the literature prize should be given to the person who shall have produced the most outstanding work (ibid.), which obviously means literary excellence and thus, the selection involves aesthetic evaluation on literary works written in different languages. Last but not least, the 15 This will be further discussed in the next section which focuses on the relationship between the Nobel Prize in Literature, translation and world literature. 19
works shall be written "in an ideal direction" (ibid.). As Allen explained, In accordance with a philological analysis, including an investigation of an amendment in the handwritten will, this means 'in a direction towards an ideal', where the domain of the ideal is indicated by the first criterion above (1997). It means that the prize should be given to the writers who have produced literary works that have conferred the greatest benefits on mankind (Nobel 1895). However, at the early stage, the definition of ideal direction is unclear and therefore, this criterion is vague and caused long-lasting discussion. This is why Espmark concluded that, Indeed, the history of the literature prize is in some ways a series of attempts to interpret an imprecisely worded will (1991: 3). In fact, the Swedish Academy in different eras has interpreted the will in different ways. For instance, from 1901 to 1912, the Academy s director Carl David af Wirsén defined ideal as a lofty and sound idealism (qtd. in Espmark 1991: 9). The narrow definition of an ideal direction focused on the sacredness of church, family and nation. This conservative idealism resulted in the rejection of famous writers such as Leo Tolstoy, Henrik Ibsen and Emile Zola. Since the 1920s, the Academy adopted a more reasonable definition of those words which were explained as wide-hearted humanity. After the Second World War, the secretary, Anders Ö sterling, reckoned that the prize should be given to the pioneers for their contribution in the development of literature, which was another interpretation of greatest benefits of mankind. Since 1978, the Academy started to pay attention to unknown masters that are talented but unnoticed to the world. Starting from the 1980s, the Swedish Academy tried to spread their focus to literature outside Europe and aimed to achieve a global distribution. 16 16 This will be further discussed in the next section about the relationship between translation and the Nobel Prize in Literature. 20
From the history of the Nobel Prize in Literature, the last two criteria, literary talents and ideal spirit, are the two main aspects for the Academy to consider during the selection. However, these two aspects, inevitably, are limited to individual subjectivity. Similar to other literary prizes, discussing excellence in literature is not easy because literary greatness is hardly definable. Literary prizes are inherently subjective, and the Nobel Prize in Literature suffers even more than other national literary prizes because it involves the comparison of literary works from different cultures in different languages. Worse still, the Nobel Prize in Literature concerns not only literary merits, but also the ideal direction of the works. Nevertheless, everybody has different opinions towards the concept of ideal, and one s judgment largely depends on his or her background, culture and ideology. As we all know, the members of the Academy are all Swedish. How can an institution from a single country determine who the best writer in the world is? It can explain why the prize was criticized for its Eurocentric bias. In the Academy, not every member adopted an open attitude towards literature outside Europe. Artur Lundkvist was an example as he said in his article Nobelpris at vem? ( The Nobel Prize to Whom? ) dated on 12 October 1977 in Svenska Dabladet, The academy is often reproached for thus neglecting the literature of Asia and Africa and other remote parts. But I doubt if there is so far very much to find there. It is a question of literatures (with a certain exception, particularly in the case of Japan) that as far as can be judged have not achieved that level of development (artistic, psychological, linguistic) that can make them truly significant outside their given context (qtd in Espmark 1991: 141). Even though some of the other members did not agree his point of view, Lundkvist was still an Academy member who could vote in the election of the winner of the Prize. As the present secretary of the Academy Peter Englund admitted, "I think that is a problem. We tend to relate more easily to literature written in 21
Europe and in the European tradition." 17 This limitation of the Swedish Academy would easily affect the selection of the winner. It is doubtful whether the Swedish Academy members can fairly judge the literature from different cultural contexts. It seems the literary works of a similar ideology or closer cultural context with the Academy will be easier to find an echo with the judges. This bias, obviously, put most Asian, Middle Eastern and African literatures in disadvantage since their cultures and languages are so different from the Occident and therefore, it comes to the role of the translator. 2.2 The Importance of Translation on the Nobel Prize in Literature In Nobel s will, it is stated that it is my express wish that in awarding the prizes no consideration whatever shall be given to the nationality of the candidates, but that the most worthy shall receive the prize, whether he be a Scandinavian or not (Nobel, 1895). Without limitation on nationality and written languages, the Nobel Prize in Literature surpasses the bounds of national literature. The selection procedure requires a comparison of literary works written in different languages and therefore, translation plays an important role in the selection. Without translating into Western languages, the judges are unable to understand and evaluate other literatures. Therefore, from the very beginning, translation is the cornerstone of all world literary prizes. World literature would be impossible without translation. By reviewing the history of the Nobel Prize in Literature, we can investigate the role of translation in achieving a wide and global distribution of the prize on a macro scale. The second point about the role of translation is more worth-researching. To what extent can translation affect the selection of the prize winner? Andre Lefevere 17 Malin Rising, Judge: Nobel literature prizes 'too Eurocentric', The Guardian, published October 6, 2009, accessed December 26, 2014, http://www.theguardian.com/world/feedarticle/8742797 22
described translation as a rewriting of an original text (1992: xi). Different languages reflect different cultures so translators "nearly always contain attempts to naturalize the different culture to make it conform more to what the reader of the translation is used to" (Lefevere, 1999: 237). After the rewriting, how much of the subtlety of the original text would be lost in translation? On the contrary, can translators uplift the quality of writing and have the job done very so well that in the end they win a Nobel Prize for the writer? After all, the Nobel Prize is a Western institution. How can a local institution perform such an international quest? For distant and marginal literatures, does the Academy prefer the universal literary value or their exoticism? 2.2.1 Change of the Geographic Distribution of the Laureates and the Relationship with Translation Although the prize aims to celebrate universalism, the nationality of every year s laureate always draws the public s attention. Before the 1930s, the prize was dominated by European writers, with the exception of the Indian poet Rabindranath Tagore in 1913. Writers from the United States started to enter the list when Sinclair Lewis, Eugene O Neil and Pearl Buck received the awards in 1930, 1936 and 1938 respectively. After the Second World War, Latin American writers, Asian writers and Australian writers came to the stage of the Nobel Prize with the win of Chilean female poet Gabriela Mistral in 1945, Israeli writer Shmuel Yosef Agnon in 1966, Japanese writer Yasunari Kawabata in 1968 and Australian writer Patrick White in 1973. However, these occasional exceptions are not enough to respond to the criticism of Eurocentrism. It was not until the 1980s that the Swedish Academy finally put their attention on this problem. In 1984, permanent secretary Lars Gyllensten declared that attention to non-european writers was gradually increasing in the Academy and attempts are being made to achieve a global distribution (qtd. 23
in Espmark, 1991: 132). Indeed, more new faces outside the European-American cultural sphere have emerged since the 1980s when the win of Nigerian writer Wole Soyinka in 1986 and Egyptian Naguib Mahfouz in 1988 marked a change in the history of the prize. Since 1986, the number of non-anglo-european winners has more than doubled in just over 28 years. 18 Obviously, the Academy has altered their direction towards the exploration of a more international realm. The change of geographic distribution of the prize is greatly related to language and translation, which can be seen from an analysis of the list of laureates and the languages they wrote in. The languages can be divided into two main groups according to the level of dependence on translation during the selection: (1) common European languages or Scandinavian languages; (2) Minority languages in Europe and other distant languages. Table 1: The classification of the languages the laureates used Languages Competency Alienation to Nobel Judges (Is it difficult to translate?) Reliance on translation Linguistic Cultural Group 1a All judges Close Close/Medium Very little English, French, German, Swedish and other Nordic languages can read without translation (Germanic) Group 1b Some can Medium Close/Medium Little Finnish & Spanish & Italian (Indo-European) Group 2a Most can t Medium Medium Medium Minority languages in Europe (Indo-European) Group 2b Other distant languages All/Most can t Distant Distant Heavy 18 From the list of Nobel laureates in literature, there were only eight non-anglo-european winners before 1986. From 1986 to 2014, the number rose to eighteen. http://www.nobelprize.org/nobel_prizes/literature/laureates/ 24
In the Group 1a, Swedish is the judges mother tongue. Norwegian, Danish and Icelandic are all North Germanic languages, as is Swedish. Scandinavian people are widely expected to understand other spoken Scandinavian languages without interpretation. The small discrepancy between their languages and cultures enables easier translation. For the other three languages, Espmark claimed in his book, English, German, and French have caused no problems for the judges (1991: 139). Therefore, the Academy members can read the languages in Group 1a directly without translation. In Group 1b, Finnish is more difficult for Swedish people but translations between Finnish and Swedish are widely available because cultural interaction has long been developed between these two cultures. For Spanish and Italian, the Academy has made efforts to increase the level of competence throughout the decades by electing more multilingual scholars into the Academy such as Hjalmar Gullberg, Osterling and Knut Ahnlund. Therefore, the languages in this group relies less on translation because either some judges can read the original works directly or the deviation caused by translation is limited. Group 2a includes minority languages in Europe. By minority, it is not really talking about the number of speakers. It is unreasonable to classify Russian or Portuguese as small languages given the large amount of speakers of these languages in the world, especially when compared to Scandinavian languages. However, these languages and the cultures they represent may seem comparatively distant to the Swedish and the Nobel institution. Most judges would need to resort to translation to understand and evaluate the works in these languages. For other distant languages in Group 2b, the reliance on translation is the heaviest. 25
Table 2: Language of Works of the 111 Nobel Laureates in Literature (1901 to 2014): 19 Group 1a: English, French, German, Swedish and other Nordic languages (Table 2a) Languages No. of wins 1901-1944 1945-1980 1981-2014 English 26 1907, 1923, 1925, 1930, 1932, 1936, 1938 1948, 1949, 1950, 1953, 1954, 1962, 1973, 1976 1983, 1986, 1991, 1992, 1993, 1995, 2001, 2003, 2005, 2007, 2013 French 15 1901, 1911, 1915, 1947, 1952, 1957, 1985, 2008, 2014 1921, 1927, 1937 1960, 1964, 1969 German 13 1902, 1908, 1910, 1912, 1919, 1929 1946, 1966, 1972 1981, 1999, 2004, 2009 Swedish 7 1909, 1916, 1931 1951, 1974, 1974 2011 Norwegian 3 1903, 1920, 1928 Danish 3 1917, 1917, 1944 Icelandic 1 1955 Total 68 28 21 19 Group 1b: Finnish & Spanish & Italian (Table 2b) Languages No. of wins 1901-1944 1945-1980 1981-2014 Spanish 11 1904, 1922 1945, 1956, 1967, 1971, 1977, 1982, 1989, 1990, 2010 Finnish 1 1939 Italian 6 1906, 1926, 1934 1959, 1975 1997 Total 18 6 7 5 Group 2a: Minority languages in Europe (Table 2c) Languages No. of wins 1901-1944 1945-1980 1981-2014 Russian 5 1933 1958, 1965, 1970 1987 Polish 4 1905, 1924 1980 1996 Greek 2 1963, 1979 Czech 1 1984 Hungarian 1 2002 Occitan 1 1904 19 According to the website, Rabindranath Tagore (Nobel Prize in Literature 1913) wrote in Bengali and English, Samuel Beckett (Nobel Prize in Literature 1969) wrote in French and English and Joseph Brodsky (Nobel Prize in Literature 1987) wrote poetry in Russian and prose in English. These three Nobel Laureates have been sorted under Bengali, French and Russian, respectively. Moreover, the prizes in 1904, 1917, 1966 and 1974 are shared by two writers so these years are counted twice. 26
Portuguese 1 1998 Serbo- 1 1961 Croatian Yiddish 1 1978 Total 17 4 8 5 Group 2b: Other distant languages (Table 2d) Languages No. of wins 1901-1944 1945-1980 1981-2014 Japanese 2 1968 1994 Chinese 2 2000, 2012 Bengali 1 1913 Arabic 1 1988 Hebrew 1 1966 Turkish 1 2006 Total 8 1 2 5 Total of Group 1 and Group 2 (Table 2e) Languages No. of wins 1901-1944 1945-1980 1981-2014 Group 1 Total 86 34 28 24 Group 2 Total 25 5 10 10 (Data Source: The Nobel Prize Official Website) Figure 1: The proportion of languages groups in different periods 1901-1944 1945-1980 Figure 1a Figure 1b 27
1981-2014 Figure 1c Total 1a 1b 2a 2b Figure 1d The above tables and figures show an obvious fact that writers using common European languages or Scandinavian languages clearly have a better chance of winning compared to the Asian and minority languages in Europe. Out of the 111 laureates, only less than one fourth of them come from Group 2. However, the proportion of Group 1 is shrinking while Group 2 is expanding when talking about the trend of the performance of each group which varied in different periods of time. Before 1944, only 5 out of 39 winners wrote in Asian languages and minority European languages. It doubled to 10 out of 38 winners from 1945 to 1980 and 10 out of 34 winners from 1981 to now. The number of winners from Group 1 keeps dropping while those from Group 2 tend to rise 28